17 Again: The Musical

Beenleigh Theatre Group’s 17 Again: The Musical, playing at Crete St Theatre this February, is a bright, high-energy adaptation. Directed by Lachlan Dodd, this pop-rock musical leans hard into nostalgia, big emotions, and high-energy ensemble work, telling a familiar but crowd-pleasing story about regret, second chances, and figuring out what really matters once the shine has worn off. The production embraces the story’s fun, magical realism and big-hearted comedy, delivering a show that feels both familiar yet refreshing.  

Much like the movie of the same name, 17 Again is a feel-good comedy that balances its magical premise with a strong emotional core. The story unfolds in a fast paced, playful way, using humour and song to explore regret, second chances, and the quiet weight of adulthood. While the fantasy of turning back the clock fuels most of the chaos, the show’s real focus sits in the tension between who Mike was, who he thought he wanted to be, and who he has become. The musical format explores these ideas through upbeat ensemble numbers and more intimate character driven songs, allowing moments of silliness to sit comfortably alongside genuine emotional beats. That said, the audio balance was noticeably off on the night, with singing often difficult to hear over the live band and even the rustling pom poms. However, even when balance issues popped up, the presence of live music gave the show energy and made the story even more engaging.

The staging is simple but clever, built on a painted wooden floor with three flats featuring stairs and doors, and a basketball hoop planted centre stage to immediately evoke a classic American high school gymnasium. Lockers with familiar high school graffiti and a trophy case are wheeled on to transform the space into a hallway, before those same trophy cases are flipped to reveal nerdy sword memorabilia, turning the stage into Ned Gold’s bedroom – very clever!

The ensemble played a huge role in giving 17 Again its energy and momentum. Whether filling the stage as students, cheerleaders, or background characters, they brought a strong sense of fun and commitment that kept the world of the show feeling alive. The efforts of the choreographer Meggie Ryder shone brightly during group numbers which were all lively and engaging, with moments that really showed off the ensemble’s ability to sing and dance together as a chorus.

Greyson Vaughn is a clear standout as Young Mike O’Donnell (aka Mark Gold). His basketball skills alone are impressive, sinking the ball through the hoop multiple times throughout the show and even spinning it on his pinkie just like in the movie. Even more impressive was Vaughn’s singing ability while performing these tricks. His musical numbers come out confident and effortless, with a bright, open tone that suited the pop driven score perfectly. His vocals carried plenty of personality, making even the more earnest moments feel grounded and sincere. Beyond that, Vaughn does an excellent job of showing the struggle of a caring dad trying to pretend to be a typical teenager. His switches between teenage bravado and dad-like concern are very comedic, supported by great physicality and expressive reactions. Vaughn has incredible charisma and seems to have an easy sense of chemistry with every cast member. Drawing the eye whenever he’s on stage, this is a performer who feels like he’s going places, and I’m excited to see what he does next.

Playing the Dad of the show, Patrick Lockyer brings strong humour to Old Mike O’Donnell. The audience was sent into hysterics during his intro song “Happy Family,” where he sings with a mouthful of cake at his deeply unmerry birthday. Lockyer’s vocals had a warm, conversational quality that worked well for the character’s more grounded moments. He had the classic awkwardness of an embarrassing Dad that worked well early on, before the transformation, though the performance could have benefited from showing more of the casual confidence the character seemed to gain after he changes back.

Michelle Randell was a warm and welcoming face as Scarlet O’Donnell. She gave the character a lot of depth as she embodied the optimistic yet heartbroken personality of a young mother yearning for her family to be happy again. Throughout the show, Randell delivered strong, emotionally charged vocals with clear control and power. Her voice cut cleanly through the score, especially in her solo work, even when technical elements failed to support her.

Playing the kids of the show, Leah Erskine is the confident Maggie while Wyatt Scrimgeour is the wimpy Alex. The pair bounced off each other as siblings well and each had their own stand out moments. A particularly charming moment from Erskine comes during “You Deserve the Best” opposite Vaughn, where Mark is clearly singing about his love for his daughter, while Maggie swoons, convinced he’s confessing romantic feelings. The misunderstanding lands beautifully, thanks to Erskine’s warmth and expressive reactions. Meanwhile, Scrimgeour impresses as Alex, managing to belt out “Losers Don’t Ever Win” while zooming around the stage on a wheeled toilet, much like someone messing around on an office chair. It’s a physically demanding gag that never overshadows the vocal effort, and Scrimgeour handles it with confidence.

Clayton Eltis is a scene-stealer as Ned Gold, fully committing to the nerdy best friend role. His comedic outbursts, perfectly timed gasps, exaggerated sound effects while swinging weapons, and even apologising to his swords when putting them away make the character endlessly entertaining. His physicality and facial expressions are spot-on, and the shoulder roll flourish he throws in while storming off is a delightful detail that lands big laughs. Eltis sang with great character and comic precision, using his voice to heighten jokes without sacrificing musical clarity. His vocal performance matched his physical comedy beat for beat.

Vanessa Chuah rocks the role of Principal Masterson, embracing the stage with a confident and very commanding presence. Chuah’s vocals were powerful and assured, with excellent control across her range. She brought a sense of authority and playfulness to her singing from her first solo that made her musical moments particularly memorable. Samantha Parker also deserves a mention as the secretary, especially for the unexpected and very amusing moment of producing a lyre during “Matter of Principle.” Additionally, the Principal’s chemistry with Ned Gold (Eltis) builds nicely, particularly during their date night duet, “Tra La La”. This number is funny, unabashedly nerdy, and made even better when the background ensemble don cloaks and dance with them.

Overall, 17 Again is fun, fast-paced, and filled with moments that clearly delight both the performers and the audience. It’s the kind of show that invites the audience to relax, laugh, and lean into the nostalgia. Despite some technical hiccups, the enthusiasm of the cast, the clever staging choices, and the sheer joy baked into the material make this a warm and entertaining night at the theatre. Community theatre thrives on enthusiasm, collaboration, and shared experience, and this production has all three in spades. They offer audiences the chance to experience ambitious, joyful storytelling, performed by artists who are clearly passionate about what they do. Beenleigh Theatre Group always delivers an entertaining and energetic night out that feels welcoming, familiar, and full of heart. This is the kind of production that reminds you how valuable local theatre spaces are for nurturing talent and bringing stories to life.

Review by Rebecca Lynne

Photo credits: PIF Productions

Beenleigh Theatre Group: https://beenleightheatregroup.com/